Back catalogue: All genres

Review: Perhaps one of the most important bands to come out of Manchester ever. Up there with Joy Division, their funky post-punk is the very essence of that genre and possibly why a lot of bands like to call themselves post-punk. They're just wishing they sound as good as A Certain Ratio. For this latest release, the follow-up to their album It All Comes Down To This, they've reworked songs from said album - sensationally - and released a Christmas single. 'Now And Laughter' is described as an ode to "the unsung heroes that are on hand when the pressures of the festivities can become too much to bear." It's awash with sumptuous echoing guitar, a somber lead vocal which makes you want to raise your lighter and gently sway. There's a hint of David Bowie in there and the lyrics appear genuinely emotional and appreciative. This is a song of blissful poignance that can help remind us of what really matters in life as it captures a sense of vulnerability and awe in the magic of the moment.

Review: When it first landed on Leng in 2018, Fernando Pulichino's 'Search of Indigo' delivered a typically attractive blend of dub disco, nu-disco, Balearica and stylish lead vocals from Luca Gaspirini. Six years on, the track returns in remixed form. The Argentinian producer and multi-instrumentalist kicks things off with his own 'AM Mix', a deliciously low-slung and psychedelic chugger propelled forwards by raw, restless TB-303 acid lines, low-slung bass guitar and the dreamiest of pads. Luca Trevisi AKA LTJ Experience handles the rest of the EP, delivering a trio of hazy, slow motion and pleasingly dubbed-out revisions. His A-side remix, in which echoing vocal snippets and jangly guitars catch the ear, is followed by the superbly squelchy, acid-flecked 'Dirty Mix' and the more immersive and hazy dancefloor 'Dub'.

Review: Rolling Recordings from Antigua makes its debut here with a first release under the guise of Rock Star Heroes who offer up a couple of hard-to-find and previously unreleased funky disco influenced club bound instrumentals of out and out rock classics from one of the worlds best known stadium bands. These are perfectly designed for the club and collide rock, funk, disco and more into fresh forms. Opener 'Undercover Of The Night' popular with the likes of DJ Harvey and is a slice of raw, hard-hitting groove magic with organic percussion and live drums laden with funky guitar riffs and lively chord work that brings the whole thing to life. On the flip is an instrumental version of 'Miss You' which still has all the swagger of the iconic original with sultry harmonica luring you to the floor where the masterful drums and guitars will keep you moving.

Review: Skyrager returns to his HITD imprint with more of the magical sounds that have made him an international favourite with dedicated disco-heads. This three-tracker brims with his signature grooves, all of which are crafted from deep crate finds and reworked with his unique touch. The A-side is a 14-minute, Euro-funk-inspired boogie that combines dreamy keys and smooth synths with real vocal soul. 'Love Is Good' brings a Caribbean-infused, soca sound with a catchy guitar hook before closing with 'Love Is Bad', a funky yet laid-back disco groove with a slinky bassline and euphoric guitar riffs that ring out in prog fashion next to female vocals.

Review: The finger-click-clap is a staple of nu-disco, and doesn't Turbotito flaunt it on their latest EP. The artist has been dubbed an electronic-slow-disco artist, never swooning to the indulgent high of a tempo above, say, 120bpm. This approach allows the categoric glitz and sparkle of disco extra time to shine through; 'Time Starts Moving Slow' kicks off the EP as a sort of slow-disco manifesto, seeding ideas of a phonic slow food movement; high-pitched synth plucks and pickled, finger-picked guitars come clearly apiece, as the artist sings, untethered to any effect save for long-tailed reverb, on top. 'Breaking 84' contrasts with a talkboxing groove which soars past the A's establisher tempo, but still, necessarily, goes steady.

Review: Ralph White's early ventures into disco are finally gathered in one place with the first official anthology of his 1978 recordings at Sydney's Albert Studios. Better known at the time as a session player and producer in the city's studio scene, White was tapped by M7 to craft four disco pieces aimed at an emerging dance market. Over just two days in the studio and a small group of local players - including a young Tommy Emmanuel - he recorded four standout cuts, together which remain some of the most refined Oceanian disco ever put to tape. Though the original 12"s saw limited success domestically, M7's distribution push into markets like Canada, India and Argentina helped cultivate a quiet cult following. Now remastered and housed in a deluxe spot-UV sleeve with inserts featuring new liner notes and White's biography, this reissue shines overdue light on a forgotten chapter in Australian dance music.

Review: Surely your first thoughts seeing this album drop are what a shame it is that LCD Soundsystem no longer crank out the tunes. Happily, we shall always have their fine body of work to revert to in times of need and few albums could quench your thirst for punk-funk-infused indie-disco bangers than this live effort from 2010's Berlin Festival. It has a number of the cult US band's classics included such as a fine rendition of 'Daft Punk Is Playing In My House', the seminal 'Get Innocuous!' and one of our favourites, 'All My Friends'. A wonderful way to revisit the glory years of one of the best bands of the last 20 years.

Review: Has any band undergone such a radical musical evolution as Martin Circus? The French band, formed in 1969, initially explored psychedelia, heavy rhythm and blues and formative progressive rock, before pivoting to Cerrone style disco, new wave and eventually, synth-pop. Evolution Francaise 1969-85 does a great job in charting this sonic journey on one action-packed compilation, chronologically serving up such heady musical highs as 'Annie, Christine ou Partricia' (a heavy rock-meets-The Rolling Stones workout), 'Les Indiens De Demier Matin' (psychedelic disco-rock), 'Mon Premier Hold Up' (their most Cerrone-esque number), 'Disco Circus' (their most famous cut, here re-edited by Francous Kevorkian) and 'J'Tai Vu Dans Le Canoe?' (quirky synth-pop).

Review: Known as much for their outlandish costumes as their constant musical evolution, Martin Circus were one of France's most intriguing bands of the 1970s and 80s. Originally formed in 1969 as a psychedelics-inspired progressive rock combo, they later successfully turned their hand to wonderfully camp, over-the-top disco and synth-sporting new wave. Evolution Francaise 1969-1985 does a brilliant job of charting that remarkable musical evolution, dashing between tail end of the 60s prog sounds ('Tout Tremblant De Fievre', 'Facon de Parler'), early Black Sabbath-esque heavy rock ('Annie, Christine ou Partricia'), gritty, Rolling Stones style rhythm and blues ('A Bas Tous Le Privileges'), psychedelic disco-rock ('Les Indiens Du Demier Matin'), Cerrone-ish throb-jobs ('Mon Premier Hold Up', Francois K re-editing 'Disco Circus') and synth-pop ('J'tai Vu Dans Le Canoe?').

Review: A krautrock/punk funk/no wave/post disco hit-fest from the prolific American-born/London-based multi-instrumentalist and producer Shawn Lee. Lee, who was the drummer in the now disbanded Welsh band Carwyn Ellis & Rio 18, has made an album that's a left-field indulgence for sonic wanderers. There's a strong Neu! or Can feel to the opening and closing tracks - the bookends, if you will - so these songs are a homage to late 60s and 70s experimental music, but as invigorating as the golden generation's attempts. Elsewhere, 'Lost In London' has more of a new wave feeling; it's like a more hypnotic Gang of Four. And 'Lost In Tokyo' is a really smooth number, so the perfect soundtrack to when you feel like you can take on the world.